Rating: 
Summary: Should have been Oscar Nominated
Review: This review contains spoilers and gives away the ending:This film is stunningly beautiful from beginning to end, with finely crafted performances and a subtle but well-developed plot line. In this story, the emotional connections between people drive the plot -- sometimes so gently that less sensitive viewers will miss important catalysts and see only the violent results. In fact, Tom Hank's performance is so subtle, it's easy to miss, until he allows the emotion to overflow when he's driven out of the only life he's known since childhood and must make the decision, not only to turn his back on it, but to kill the man he's revered all his life as a father. Paul Newman is superb as the Irish mob-boss who has to choose between his lying, cheating natural son and the "adopted" son he adores. The driving force that pushes Hanks out of the nest isn't merely that Hank's family is murdered -- it's the rivalry between the two men that drives the natural son to murder, a situation emphasized though an especially skillful camera shot of Hanks and Newman playing the piano in the foreground while the natural son (also masterfully played by Daniel Craig) stands watching in the background, smiling because it hurts so much. This is a story about fathers and sons, explored in a way that doesn't deliver pat answers, but shows some of the possibilities and the heartbreak. Hank's final words are all the more powerful because he holds back so much during the course of the film. They're also very realistic. Instead of a long, intense speech, he merely says, "I'm sorry, I'm sorry, I'm sorry" to his son, as he dies. His death is meaningful and inevitable, not only because of the choices he made early in life, but also because he made the mistake of discounting the shadow that was pursuing him (Jude Law, in another excellent performance). The only flaw I found in this movie, and that trivial, was the beginning and ending voice-over. For the most part, it directed attention away from the father and son story and onto the (not nearly as poignant) question of good and evil. Yes, the movie is slower than a typical Hollywood action film. Yes, the setup took a long time. But viewers with patience and sensitivity will be amply rewarded. For my money, Sam Mendes has proven his talent once again. I can't wait to see what he'll be up to next.
Rating:
Summary: "Perdition" Is A Road Worth Taking
Review: When you bring together such talent as Paul Newman, Tom Hanks and Jude Law, it is almost expected that the movie will be a masterpiece. Tom Hanks alone, whose body of work includes such incredible performances as Philidelphia, Forrest Gump and Castaway, is an exceptional talent whose abilities are unmatched in Hollywood today. He possesses the rare gift of truly suspending disbelief by completely immersing himself in the role he plays. In this film, Hanks plays Michael Sullivan, a hit-man working under the thumb of John Rooney (Paul Newman), a powerful crime-lord operating in a rural Illinois town during the early 1930's. When Sullivan and Conner Rooney (Daniel Craig) are sent on a "hit", Sullivan's son Michael (Tyler Hoechlin) tags along, concealed in the rear of his father's car. When he witnesses a murder, he is discovered by Connor and his father, and is sworn to secrecy. John Rooney is enraged at Conner, whose actions went against his father's intent, and he publicly humiliates him while embracing Sullivan as the son he never had, and so Conner exacts revenge out of jealousy, taking out a hit on Sullivan and his family, again acting against his father. Conner succeeds in killing Sullivan's wife (Jennifer Jason Leigh) and youngest son, but misses both Sullivan and Michael junior. Upon the discovery of his wife and son's murder, Sullivan vows vengance for their deaths and sets out to find Connor and John Rooney, who have now gone into hiding under the protection of a powerful crime lord in Chicago. When Rooney learns of Sullivan's intent, he unwillingly contracts a hit-man (Jude Law) to eliminate Sullivan. From this synopsis, one might deduce that this is simply another mob movie, in league with such films as Good Fellas or perhaps even the Godfather. But what makes this a great film isn't its similarities to the other forementioned classics, but its bold stance to humanize the face of a mobster. Hank's character is likeable, exhibiting a humanity and a vulnerability not normally portrayed in the hit-man stereotype. He isn't simply a goon in a fedora and black trench, but a father and husband, whose resolve is shattered when he loses the people closest to him. His relationship with his son is a pivotal part of the plot, as he must balance his hunger for revenge with the need to protect his boy. Paul Newman also brings a level of depth to the movie which makes him a complicated and difficult character, someone audiences will both pity and hate, and he is played with a level of intelligence and believability that makes him a delight to watch. The ending is a little disappointing, and, though I won't spoil it, I will say that it left this reviewer a little let down. As Hollywood directors have become infamous for doing, there is a suprise ending that, though plausable, adds little to the story, save for the fact that it brings closure to the story's precept that the narrator states in the beginning of the film. Still, this film deserves the highest rating that I gave it. It is a first class collection of performances built on a very engaging storyline of power and corruption in 1930's mob manipulated America. Scott Kolecki
Rating:
Summary: Stunning
Review: Every performance is golden. Every bit of scenery adds to the weight and beauty of the film. Every moment invites a second viewing, and a third. Not a happy movie, but a lovely one. I was thrilled, and both my 19 year old son and 50 year old husband were mesmerized.
Rating:
Summary: Should Have Won The Oscar
Review: Even before the movie Chicago was released I knew that it would win the Oscar for best picture. The Academy was dying to revive the musical genre and Chicago provided a noisy production with top caliber stars. It was a shoo in. This is too bad because three of last years best films, Minority Report, We Were Soldiers, and Road To Perdition were not even nominated, and each was arguably better than Chicago. Of the three, Road To Perdition would have been my choice for the Oscar. Many reviewers complain that the movie is too slow, or that the characters are too cold. This is a movie that requires multiple viewing to appreciate the depth of the characters, and the subtle buildup to the dramatic climax. And was there a better filmed and more dramatic scene than that in which Tom Hanks confronts Paul Newman for the last time? The expression on Tom Hanks face when he is about to do the unthinkable is moving. And the way Hanks is filmed appearing out of the dark, driving rain, and then vanishing back into it is terrific. I can see why this movie won the Oscar for lighting. I also feel that this movie has the best musical score of any movie made last year, including Chicago. Dream works should have released this movie in November or December so it was still fresh on the minds of the Academy members. Oh well...the Academy voters have been out of step with the movie going public for many years...
Rating: 
Summary: Emotionally barren
Review: Emotionally distant, this film's major characters didn't endear themselves in any way. Even the ostensibly sympathetic characters are blank and unlikable. Granted, we're dealing with gangsters and their immediate hirelings and bodyguards, but unlike, say, the Godfather saga, there was no one really compelling. Hanks is a beloved husband, and hit-man, an amusing stretch I know. He works for Irish mobster boss Paul Newman, Hanks' 12 year old boy sees a gangland hit he shouldn't forcing the two on the road after the murder of the rest of Hanks' family. Hanks then wreaks revenge, seeking the death of Newman and his [Newman's] son who did it. A pale version of the Japanese manga Lone Wolf and Cub, the story follows to its inexorable conclusion, especially factoring in a creepily balding Jude Law as the assassin hired to track down Hanks and terminate him. There were some nice cinematic touches like the Tommy gun flashing out of the shadows during Hanks and Newman's final showdown in the rain. Hanks trades in bland hero for bland bad guy and the story never really connects.
Rating:
Summary: A nice effort from Tom Hanks
Review: I must admit that I was disappointed in this movie when I saw it in the theater. It was long and some parts were boring. It also had a voiceover which struck me as being lazy on Sam Mendes' part. The voiceover worked on a quirky level with American Beauty but in this film it is useless. I recently saw it again on tv and while it didn't improve with time, I did appreciate some parts of it. The movie is flimsy and it betrays it's comic book beginnings. Some camera movements look like comic book framing. However the set design and music saved it alot. Some characters needed more characterization such as Jude Law's hit man, Newman's son and Hank's wife. They may have been plot points in the comic but on film these characters take on quite a different life and they needed more screen time. Jennifer Jason Leigh in particular was very shortchanged. We could have done less with Michael Jr., he was the weakest character and the young actor portraying him was not up to the challenge. It doesn't say much about a film when the main character is shuffled to the side by more minor characters. Unfortunately for us, this film was not about Tom Hank's hit man or Paul Newman's mob boss but about a rather colorless child. Tom Hank's really stretched his range in this film and this is what I find admirable about it now. His character is a bad man in the beginning and in the end. His only redemption is that he spares his child from his own hit list. Hanks was particularly chilling in the scene after he discovers most of his family dead. The fact that he could walk away from the bodies of his family and tell his only surviving son that they don't have a home was really ruthless. Hanks again surprises during his last few scenes with Newman. However I didn't believe for an instant that Hanks would be afraid of Jude Law's character. Nor that would he be quite so capable of being openly affectionate with his son. However these are only minor faults in a very good performance. All in all this is not a bad film. But it needs a lot of patience and attention from the viewer to appreciate it.
Rating:
Summary: Dark, dreary, violent, disturbing movie--but good?
Review: This was not a bad film at all, but it is very realistic. Jude Law does an unreal job in his role. My goodness he was creepy! Hanks does a good job as a morally tortured man on a quest for justice/revenge. The relationship between he and his son is strained. Paul Newman is fantastic--understated and elegant. The plot is interesting. You definitely get invested in the film and it's not dull at all. But it's unsettling. And the film was very dark and stark.
Rating: 
Summary: Very good movie
Review: I liked this movie. However, I agree it was not one of Tom Hank's best performances. The score will blow you away! Thomas Newman's music is amazing! This guy is now the best score writer in movies. Paul Newman was excellent. Jude Law had a great part but I agree the story was a little slow. I thought that the technical movie making aspects of this were outstanding. Excellent scenes! This is going into my DVD collection.
Rating:
Summary: What a road to be on...
Review: This film is beautifully shot. I must say that living in the Quad Cities, the area where this film took place, the creators of this film put a considerable effort into making this film as true to the real events as possible. Thought the locations used were in the northern suburbs of Chicago, they have a real authenticity to them. Conrad Hall certainly deserved the Oscar for best cinematography, because this is one of the most beautifully filmed movies I've ever seen. As for the film, it is about Mike Sullivan (played by Tom Hanks), who is a hitman for the notorious John Rooney (in reality known as John Looney). Mr. Rooney (played by Paul Newman) is a cold hearted old man who wields power over his men ... did over Germany. One night, Sullivan goes to "just talk" with Rooney's son to one of his gangster cohorts. Little does Sullivan know who's eyes are watching everything unfold. From there, a true road to hell sprawls out before your eyes. Jude Law lends his support in the cast as a photographer who has a fettish for "shooting the dead." What a wonderful follow up to American Beauty.
Rating:
Summary: Mildly entertaining, but rather empty.
Review: You can tell a few minutes into Road to Perdition that this is a Big Film, or at least that is the hope. But, it isn't. Aside from an interesting performance from Jude Law, the acting is unremarkable. Hanks comes across as a modern day guy in a turn of the century suit, perhaps his weakest performance since he was marooned on that cozy island. And because Hanks plays such a central role in the story, therein lies its unravelling. Unfortunately, the child actor who plays Hanks' son is all appearance and no heart, another key shortcoming that dashes hope for an interesting commentary on a father-son relationship. (The entire movie seems fixated on the father-son thing, which is fine. But the thinly drawn characters and even thinner story keep it from telling very much. Unfortunately, we'll have to wait for another movie to better inform of us the nuances of fatherhood.)
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